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Straight To The Point: Quick Reviews Of BREED THE KILLERS And MOLOKEN

Breed the Killers – Breed the Killers

Dublin, Ireland’s metallic hardcore quintet Breed the Killers have made an important first step with their debut self-titled album. Short but not at all sweet, this eight-track effort follows along the path carved out by the genre’s forefathers without being afraid to experiment with different approaches. The 24-minute bruiser fest barrels out of the gate with the chaotic “Play the Victim” and the album’s assault remains unyielding throughout. The guitars cycle between dissonant, grinding dirges and spiraling, mathcore adjacent lunacy during the song’s hellacious main riff, only to dive into burly beatdown territory and back again. “Final Day” follows shortly after with incendiary bursts of chaotic aggression, utilizing a similar method to “Play the Victim”. Tracks like “Face Yourself” and “No Reality” churn out seemingly endless bouts of earth-shaking, mosh worthy riffs that will appease fans of beatdown heavy hardcore. The band switch things up on the thrash-leaning “Turn Back” and further on the blistering crossover tune “Surrounded by Lies”. Gore-soaked death metal collides head-on with metalcore sensibilities on “Bury the Cowards”, while the band chooses to close the album with the skull-crushing metallic beast “Embrace the End”. Breed the Killers play with a variety of styles on their debut release without losing their identity in the process. Mathcore, death metal, thrash and others can be found swimming in this sea of chaotic goodness. These Irish heavy hitters are ones to look out for in the years to come.

Swedish post-metal quartet Moloken complete their album trilogy of despair with its soul-crushing final installment, All is Left to See. With an overarching lyrical concept about falling into the deepest, darkest pit of oneself, the trilogy reaches its lowest, most dismal point with this record. Moloken initiate the downward spiral with the hypnotic “Subliminal Hymns”. Cycling, chugging guitars march steadfast towards the song’s ambient conclusion, while cold melodies and angst-ridden screams gladly make their presence known. Haunting, dissonant melodies intertwine with each other nauseatingly throughout the album’s slow-burning title track, only to give way to a climax of incendiary chords. Black metal blast beats merge with dissonant, Neurosis-esque dirges on the short but hardly sweet “Burst”, which leads directly into the seven-minute leviathan, “Seventh Circle”. Monolithic chords tower over the entirety of this musical centerpiece as knife-like melodies surround them like a suit of armor. All is Left to See reaches its climax with the grumbling, sludge fest that is “I Dig Deeper”. Down-tuned riffs trudge along hand in hand with grumpy bass lines during the song’s most straightforward moments, while sinister, serpentine melodies eventually take control of the track. The song eventually ends with swelling, hollow noise and ambiance that bleeds into the album’s final movement, “Beginning of the End”. The track begins in a Godspeed You! Black Emperor fashion with somber guitar lines and equally saddened string accompaniment. The audio lamentation eventually dissolves into nothingness as pulsating distortion and primal percussion slowly build in momentum. The track builds and builds but nothing is born out of this tension, leaving the listener to ponder the meaning of its abrupt conclusion or to be disappointed. All is Left to See is a fitting conclusion to Moloken‘s depressive trilogy. Although it ends on a questionable note, the record is still one of the more interesting post-metal, sludge, what have you, releases of the year.

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American Aftermath is here to promote and support the music we, and hopefully you, love: Metal. All types of metal. Black, Death, Thrash, Power, Grindcore, Hardcore, Metalcore, Sludge and on occasion, Grunge. We also dabble in punk and obscure hip-hop.

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